Venceslao

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Work data
Original title: Venceslao
Title page of the libretto, London 1731

Title page of the libretto, London 1731

Shape: Opera seria
Original language: Italian
Music: Leonardo Vinci , Johann Adolf Hasse , Antonio Lotti a . a., editing: Georg Friedrich Händel
Libretto : after Apostolo Zeno , Venceslao (1703)
Premiere: January 12, 1731
Place of premiere: King's Theater , Haymarket, London
Place and time of the action: Krakow in Poland , around 1300
people
  • Venceslao , King of Poland ( tenor )
  • Casimiro , his son ( mezzo-soprano )
  • Alessandro, also his son ( bass )
  • Lucinda, a queen in Lithuania ( old )
  • Erenice, a Polish princess of royal blood ( soprano )
  • Ernando, general, favorite of the king (old)
  • Gismondo, captain of the bodyguard, confidante Casimiros (bass)

Venceslao ( HWV A 4 ) is a dramma per musica in three acts and a pasticcio performed by Georg Friedrich Händel in London in 1731 .

Emergence

At the end of the first season of Handel's second opera academy, in the summer of 1730, it became clear that the former castrato Antonio Bernacchi was unable to fill the gap torn by Senesino's absence - he had returned to Italy after the first opera academy was closed. So Handel was forced to resume negotiations with his former star for the next season. Francis Colman , British envoy in Florence, and Owen Swiney , who had left England in 1713 and now lived in Italy, acted as mediators . In a letter dated June 19, Handel instructed Colman to hire a soprano, who

«[…] Proposer also summarize le Role d'home bien que celuy de Feme. »

"[...] must give male and female roles as well."

- Georg Friedrich Handel : Letter to Francis Colman, London, June 19, 1730

He asks Colman too

«[…] Prier de nouveau qu'il ne soit pas fait mention dans les Contracts du premier, second, ou troisieme Rolle, puisque cela nous géne dans le choix du Drama, et est d'ailleurs sujet a de grands inconveniens. »

"[...] again that in the contracts there is no mention of the first, second or third roles, as this hinders us in the choice of the pieces and is also a cause of great inconvenience."

- Georg Friedrich Handel : Letter to Francis Colman, London, June 19, 1730

On July 18, Swiney wrote from Bologna to Colman in Florence:

“I AM favored w th y rs of y e 15 th instant, & shall Endeav r to observe punctually w t you write about. I find y t Senesino or Carestini are dersired at 1200 G s each, if they are to be had; Im'e sure that Carestini is Engaged at Milan, & has been so, for many Months past: and I hear y t Senesino, is Engaged for y e ensuing Carnival at Rome. If Senesino is at liberty (& will accept y e offer) then the affair is adjusted if Sig ra Barbara Pisani accepts the offer I made her, which I really believe she will. If we can neither get Senesino, nor Carestini, then M r Handel desires to have a man (Soprano) & a woman contrealt, & y t The [sic] price (for both) must not exceed one Thousand or Eleven hundred Guineas, & that the persons must sett out for London y e latter end of Aug t or beginning of Septemb r , and y t no Engagem t must be Made w th one with t a certainty of getting the other. Several of the persons recomended to M r Handel (whose names he repeats in y e letters I received from him this Morning) are I think exceedingly indifferent, & Im'e persuaded wou'd never doe in England: & I think shou'd never be pitch'd on, till nobody else can be had. I have heard a Lad here, of a bt 19 years old, w th a very good soprano voice (& of whom there are vast hopes) who Im'e persuaded, would do very well in London, and much better than any of those mentioned in M r Handel's letter who are not already engaged in case you cannot get Senesino. [...] Having not time to answer Mr. Handel's Letter, this day, I hope you will be so good as to let him know y t I shall Endeav r to serve him to the utmost of my power, & y t I shall do nothing but w t shall be concerted by you. "

"I received your letter of thanks on the 15th of this month, and I will endeavor to follow exactly what you write. I've heard that Senesino and Carestini are bidding 1,200 guineas each , if they are free at all. I know for sure that Carestini has an engagement in Milan, and has been for many months, and I hear that Senesino is committed to the next Carnival in Rome. If Senesino is free (and accepts my offer), the deal is closed, provided Signora Barbara Pisani also accepts my offer, which I think is likely. If we can neither win Senesino nor Carestini, then Mr. Handel wants the engagement of a man (soprano) and a woman; the fee (for both) should not exceed a thousand or eleven hundred guineas, and the persons should not leave for London after the end of August or the beginning of September, and one should not be hired until the contract with the other has been secured. Some of the persons recommended by Mr. Handel (whose names he quotes in his letter) are, I think, downright uninteresting and would never find approval in England; I mean, there is no way you should go for it while there are other options. I have heard of a young man, about 19 years old, who has a very good soprano (and who has great hopes for); I am convinced that it would be very successful in London; far more than anyone mentioned by Mr. Handel in his letter who has not yet been hired in case you don't get Senesino. […] As I have no time to answer Mr. Handel's letter today, I hope you will be so kind as to let him know that I shall endeavor to assist him with whatever is in my power; that I will not do anything that has not been agreed with you. "

- Owen Swiney : Letter to Francis Colman, Bologna, July 19, 1730

The end of the story was that Senesino took advantage of his advantage and accepted an offer for 1,400 guineas - this went far beyond the estimated sum and meant a considerable risk for Handel; since this sum was no longer covered by the board, it was now dependent on the audience. In mid-October, Handel Colman reported:

«Monsieur, Je viens de recevoir l 'honneur de Votre Lettre du 22 du passeé NS par la quelle je vois les Raisons qui Vous ont determiné d'engager S r Sinesino sur le pied de quatorze cent ghinées, a quoy nous acquiesçons, et je Vtres humbles Remerciments des peines que Vous avez bien voulu prendre dans cette affaire [.] Le dit S r Sinesino est arrivé icy il ya 12 jour et je n'ai pas manqué sur la presentation de Votre Lettre de Luy payer a comple de son sâlaire les cent ghinées que Vous Luy aviez promis. »

"Sir, I have the honor of just receiving your letter of the 22nd [NS] from last month, from which I learned the reasons that you have determined to hire Mr. Senesino for fourteen hundred guineas, to which we give our consent. I offer my most devoted thanks for the efforts you have made on this matter. The said Mr. Senesino arrived here 12 days ago and I did not fail to pay him 100 guineas on presentation of your letter against his fee, which you had promised him. "

- Georg Friedrich Handel : Letter to Francis Colman, London, October 16, 1730

On November 3rd the new season started with a resumption of Scipione , and “ Senesino being return'd charm'd much. ”(“ Opera Register ”, London, November 3, 1730, German:“ The returned Senesino enchanted everyone. ”)

But the year ended sadly for Handel: on December 16, his mother died. At the time, Handel was working on his opera Poro , which he had started in September. But first he put together a pasticcio with music from some “modern” composers, like Elpidia in 1725 and Ormisda a year earlier . On the one hand, this satisfied the increasingly pronounced desire of the London public for works in the new, light, Neapolitan style, on the other hand, it gave Handel some breathing space to compose his own works.

Venceslao was performed in concert by the Opera Settecento under Leo Duarte at the London Handel Festival on April 26, 2019 and at the Handel Festival in Halle an der Saale on June 16, 2019 .

libretto

The libretto is an adaptation of Il Venceslao by Apostolo Zeno and belongs to his early creative period. It is the eleventh of the poet's surviving opera text books. Venceslao was set to music several times. The evidence of the oldest musical version is from 1703: for the Teatro San Giovanni Grisostomo in Venice, composed by Carlo Francesco Pollarolo . The second setting of the libretto dates from 1716; its author was a student of the famous Francesco Provenzale , the Naples-born Francesco Mancini . The accompanying text book was in 1970 he rediscovered years, but the music was lost. According to the libretto, it is a slightly shortened version that emphasizes the dramatic events more strongly than Pollarolo's opera.

A Venceslao was running in London as early as 1717 . Since the textbook and music of these performances are lost, it is unclear who their poet and composer was. Between 1720 and 1730 the libretto was used about ten times for various productions in Italy. One of them, performed in Parma in 1724, was set to music by Giovanni Maria Capelli . The text version of this production served Handel as a template for his pasticcio. He (or his librettist) had adapted the original five-act layout of the original version into three acts. Since Handel only had five singers available, the bassist Giovanni Giuseppe Commano , who had moved into the ensemble for the German Johann Gottfried Riemschneider, had to sing two roles: both Alessandro and Gismondo (both only have recitatives). Alessandro is murdered in the seventh scene of the first act and so Commano was also able to portray Gismondo, which first appeared in the tenth scene.

Venceslao almost certainly comes, like the previous pasticci of the Royal Academy, L'Elpidia and Ormisda , from a "broadcast" by the theater manager Owen Swiney from Venice at the end of 1725 , who apparently had the order to set the London stage with material from the Italians To supply opera metropolises. Swiney's letters make it clear that he had sent a full score and planned the pasticcio himself. Possibly this was done on the basis of Capelli's setting, which was very topical and in which Faustina Bordoni had sung Lucinda. She would have had the same role in London. But at first it did not happen that Venceslao was included in the program. But when Handel and Johann Jacob Heidegger founded the second opera academy in 1729, they planned to bring the opera to the stage in the spring of 1730, after Ormisda , with Antonio Bernacchi as Casimiro. But the Ormisda’s great success was the reason that this venture was postponed until the next season when the returning Senesino took his place again from the disappointing Bernacchi.

The director's score (“hand copy”), the harpsichord part, the printed libretto and seven “Favorite Songs” printed by John Walsh in 1731 have survived from Handel's performances . Although the libretto does not mention the names of the singers, as usual, this can be reconstructed:

Cast of the premiere

Judging from a note in the “Opera Register”, the opera diary between 1712 and 1734 that was wrongly attributed to the diplomat Francis Colman , the piece fell through: “ Veneslaus New Opera - did not take. ”(“ Opera Register ”, London, February 1731, German:“ Wenzel, a new opera - was not accepted. ”). Venceslao only had four performances as of January 23.

Zeno's libretto is based on Jean Rotrous Venceslas (1647), which in turn is based on Francisco de Rojas Zorrillas No ay ser padre siendo rey (approx. 1645). Zeno, the predecessor of Pietro Metastasios in the office of the imperial court poet of Charles VI. , was very familiar with the dramatic literature of France and borrowed quite a few materials from it for his operas. This time in the "Argomento" he expresses himself more sincerely than before in the Ormisda that it is an adaptation of Rotrous Venceslas :

"So che il medesimo (sogetto), verso la metà del secolo andato fu esposto in una tragedia sopra la scene francesi dal Signor Rotrou, che al suo tempo fu in riputazione d'insigne scrittore."

"I know that the same (subject) was performed by Mr. Rotrou in a tragedy on a French stage in the middle of the century, which gave its poet an excellent reputation."

- Apostolo Zeno : Venceslao - Argomento, Venice, February 1703

action

Wenceslaus II with the Bohemian and Polish crown. Illustration from the Chronicon Aulae Regiae

Historical and literary background

The plot only broadly reflects the historical facts. King Wenceslas appears as the ruler of Poland. So it is evidently the Bohemian King Wenceslaus, who lived from 1271 to 1305 and went down in history as Wenceslaus II. Towards the end of the 13th century, after the death of Heinrich von Breslau, he came to rule Krakow and in 1300 also became King of Poland. The character of Wenceslas even appears in Dante's Divine Comedy , although there his negative qualities, laziness and lustfulness, are denounced.

Zeno was very free to deal with the characters in Rotrou's tragedy. For example, Wenceslas son Casimiro is still called Ladislav in Rotrou, which means that he can still be identified as Wenceslas II's son, Wenceslaus III, at least with his Hungarian royal name. In addition, Zeno gives some explanations in his preface that relate to dramatic innovations. For example, contrary to historical facts, Lucinda is Queen of Lithuania, although she has to appear as Grand Duchess. Zeno also defends the phrase according to which Casimiro is crowned King of Poland while King Wenceslas is still alive. This is also a fable. Zenos Casimiro is a real tragic hero, he longs for purification so as not to reach it. So its shape takes on almost titanic features. The proud criminal on the way to the unattainable good - truly a grateful stage figure with the typical baroque accents of a kind of romantic character. The other forms of this libretto are fictitious. This also applies to Lucinda, although in her case Zeno refers to the study of historical sources.

Argomento

“Venceslao, King of Poland, had two sons, Casimiro and Alessandro. The first was naturally proud, angry and unchaste, the other kind and gentle. Both fell in love, with a completely different resolution, with Erenice, a princess who came from the ancient Polish kings. Casimiro loved her out of lust, but Alessander wanted to heyrath her. The former was not afraid to let the whole court know his love, but because he knew his brother's violent temperament, he hid it from everyone, except for his beloved Erenice and his friend Ernando, a field master and favorite the king. Because he was afraid of Casimiro’s anger, he asked this friend to make him fall in love with Erenice, so that he could talk to the princess with greater certainty, because of his inclination. Ernando did such a thing as a pledge of friendship, whether afterwards it would cost him dearly because of the love he himself felt for Erenice. The result was that Casimiro believed that Ernando and not Alessandro was his competitor. And from his erroneous opinion, the most distinguished knot of this show game arises. The death of Alessandro, at the hands of his brother, the accusation, so Erenice done because of it, the condemnation, and the formal coronation of Casimiro, which are presented, are drawn from the same story, from which the rest of the content is taken. Casimiro's love affairs with Lucinda, Grand Duchess in Lithuania, who for considerable reasons is presented as a queen, are mere fictions. The show place is in Cracow, the capital of Poland. "

- Pietro Torri , Johann Lucas Straub : Venceslao: Musical spectacle game, Mod on the high taking day of his ..., Munich, October 12, 1725

music

The version of Venceslao performed in January 1731 under Handel's direction was only remotely similar to the opera prepared by Swiney. Only a few numbers made the transition from Swineys to Handel's score, such as the overture from Antonio Lotti's Alessandro Severo (Venice, 1717) and two choirs from Giuseppe Maria Orlandini's Antigona (Venice, 1718). The recitatives have been re-composed to a heavily abridged text, which was probably revised by Giacomo Rossi . Stylistically, these are very similar to those in Ormisda and can hardly be from Handel. As there too, the singers played a decisive role in the selection of the arias. Reinhard Strohm identified most of them as arias from operas by Geminiano Giacomelli , Johann Adolf Hasse , Nicola Porpora , Giovanni Porta , Leonardo Vinci , Lotti and Orlandini. It can be assumed that the impresario Heidegger played a greater role in the creation of the pasticci Ormisda and Venceslao than Handel himself. The fact that Handel was in possession of the director's score and the harpsichord part probably means that he was in charge of the performances. Only in a few places in the manuscripts can one suspect changes made by his hand in the form of pencil notes. Otherwise there is no evidence that he had anything to do with the Pasticcio Venceslao than to have directed its performances.

It is uncertain whether Handel had a complete copy of Capelli's score or just the libretto book. Only one of Capelli's aria ( Del caro sposo , No. 27) made the way from the direct model to Handel's arrangement (with a completely different character, however), but this could also have been known as an isolated extract in London. Two other arias by Capelli had already been performed in Elpidia and contributed by the castrato Andrea Pacini : Qual senza Stella and Vado costante a morte (No. 20). The former was initially planned for the performance of Venceslao and was then dropped; the latter seems to have been inserted at the last moment. Several other aria texts from Zeno / Capelli's libretto have been provided with new music and some have been parodied. Two further arias ( Nel seren di quel sembiante , No. 12 and Balenar con giusta legge , No. 26) and two Accompagnato recitatives come from another production of the Venceslao , probably the pasticcio, which was made in 1722 at the Teatro San Giovanni Grisostomo in Venice and in which the five main roles were performed by the same voices as in Handel's version. It is also possible that Handel to the non-traditional 1717 he has resorted London version. His instrumentation of the Accompagnatos Correte a rivi (No. 22), with two obbligato bassoons, suggests an earlier London model. The origin of the sinfonia ( overture , of which the last movement could, however, be from Handel), the choir and the secco recitatives is unclear, although Handel will certainly revise the latter considerably in view of the considerable text changes resulting from the reduction of the drama from five to three acts had to. As in the cases of Elpidia and Ormisda , however, there is no proof of this, because both the director's score and the harpsichord part are almost entirely the work of a copyist. For the same reason, it is not always clear what was planned and what was added later. The two sources hardly differ from one another and were written roughly at the same time. There is also almost no difference to the printed libretto, which was usually only printed shortly before the performance. Nevertheless, one can to some extent reconstruct which arias were planned from the start and which were added during rehearsals. For example, Hasse's aria Lascia cadermi in volto (No. 14, from Artaserse , Venice 1730) was added to the second act, later for Maria Strada, while Capelli's subsequent, Del caro sposo in G major, was transferred to the third act, and the transitional recitative cadence was actually changed from E to G. On the other hand, another Capelli's aria, Qual senza Stella , which was to be heard in the third act, fell victim to the red pencil and the preceding recitative had to be completely rewritten.

In some roles, however, only very few changes were made to Handel's original concept during the rehearsal phase, because suitable arias from operas by Vinci and Hasse were planned for some singers (Merighi, Bertolli). For example, the Merighi only sang arias that had been composed especially for them: three of them came from Hasse's Attalo, Re di Bitinia (Naples 1728). In this case, the singer's Wunsch seems to have agreed with Handel's conceptual ideas. The tenor's arias, Fabri, were taken from the Venediger pasticcio of 1722 and remained unchanged. Of all the pasticci that Handel performed in London, Venceslao is musically the most inconsistent. This is especially true for the role of Casimiro, which was intended for Bernacchi and who had already sung four of the six arias in Vinci's Medo (Parma 1728). These arias were specially designed for Bernacchi and his very individual singing style. Handel must have had an eye on performances of Venceslao before May 1730 (after that Bernacchi left London), possibly even as early as 1729. When Senesino had long since taken "his" place in Handel's opera company again, none of Bernacchi's arias survived the adaptation to the New situation: for example, two more arias from Lotti's Alessandro Severo from 1717 were recorded, which Senesino had already sung when Handel met him in Dresden in 1719. The Strada, which had already sung the Erenice in Porta's version (Naples 1726), was either unwilling or unable to sing even one of the arias that Handel had intended for the role. It is noteworthy that the original lyrics of many arias were not corrected and were only written in pencil under the music at the last minute. Handel himself will probably be the author of these text corrections.

Music numbers and their templates

The opera contains the following pieces of music:

  • Sinfonia - unknown original

first act

  • Overture - Antonio Lotti : Alessandro Severo , Venice, 1717
  • No. 1. Aria (Ernando): "Se a danni miei" - Leonardo Vinci : Stratonica (Pasticcio), Naples 1727
  • No. 2. Aria (Venceslao): "Se tu vuoi dar legge al mondo" -?
  • No. 3. Accompagnato (Casimiro): "Che farò?"
  • No. 4. Aria (Casimiro): "Quell'odio che in mente" - Leonardo Vinci: Medo, Parma 1728 (= "Quel fiume che in mondo")
  • No. 5. Aria (Lucinda): "Lascia il lido" -? Nicola Porpora : Amare per regnare, Naples 1723
  • No. 6. Aria (Erenice): "Io sento al cor" - Geminiano Giacomelli : Lucio Papirio dittatore , Parma 1729 (= "Tornare ancor")
  • No. 7. Aria (Venceslao): "Ecco l'alba" -? unknown original
  • No. 8. Aria (Lucinda): "Per mia vendetta" - Giuseppe Maria Orlandini : Antigona ( La fedeltá coronata ), Bologna 1727 (= "Se morir deggio ingrato")
  • No. 9. Aria (Erenice): “Son belle in ciel” - Giovanni Porta : Ulisse, Venice 1725
  • No. 10. Aria (Casimiro) "D'ira armato il braccio fome" - Leonardo Vinci: Medo, Parma 1728 (= "Vengo a voi, funesti orrori")

Second act

  • No. 11. Accompagnato (Lucinda): "In questa, o sommi Dei, fatale arena"
  • No. 12. Aria (Venceslao): “Nel seren di quel sembiante” -? Pasticcio Venceslao, Venice 1722
  • No. 13. Aria (Lucinda): "Con bella speme" - Johann Adolph Hasse : Attalo re di Bitinia, Naples 1728 (= "Con dolce frode")
  • No. 14. Aria (Erenice): "Lascia cadermi in volto" - Johann Adolph Hasse: Artaserse , Venice 1730
  • No. 15. Aria (Casimiro): "Parto, e mi sento" - Leonardo Vinci: Medo (= "Taci, o di morte non mi parlar", parody text by Handel inserted in pencil at this point in the director's score)
  • No. 16. Aria (Lucinda): "La vaga luccioletta" - Johann Adolph Hasse: Attalo re di Bitinia, Naples 1728
  • No. 17. Aria (Ernando): "Vuò ritrar della tempesta" - unknown model
  • No. 18. Accompagnato (Casimiro): "Ove siete?"
  • No. 19. Sinfonia (fragment)
  • No. 20. Aria (Casimiro): "Vado costante della mia morte" - Giovanni Maria Capelli , also in Leonardo Vinci: Medo (= "Nella foreste leone invitto")
  • No. 21. Aria (Erenice): "Come nave in ria tempesta" - Nicola Porpora: Semiramide regina dell 'Assiria, Naples 1724

Third act

  • No. 22. Accompagnato (Lucinda): "Correte a rivi, a fiumi, amore, la crime"
  • No. 23. Aria (Lucinda): "Corro, volo, e dove" - ​​Johann Adolph Hasse: Attalo re di Bitinia, Naples 1728
  • No. 24. Aria (Ernando): "Spero al fin che il cielo irato" - Johann Adolph Hasse: Gerone tiranno di Siracusa, Naples 1727 (= "Sappi poi cheil cielo irato")
  • No. 25. Aria (Casimiro): "De te se mi divide" - Antonio Lotti: Alessandro Severo , Venice 1717 (= "Da te tu mi dividi")
  • No. 26. Aria (Venceslao): “Balenar con giusta legge” -? Pasticcio Venceslao, Venice 1722
  • No. 27. Aria (Erenice): "Del caro sposo" - Giovanni Maria Capelli: Venceslao, Parma 1724
  • No. 28. Choir: "Fausti Numi"
  • No. 29. Aria (Casimiro): "Fido amor, non più lamenti" - Antonio Lotti: Alessandro Severo (= "Fidi amori, or sì dolenti")
  • No. 30. Choir: "Di Re giusto viva il figilio, viva sposo, e viva Re"

Handel and the pasticcio

The pasticcio was a source for Handel, of which he made frequent use in the following years. They were not new to London or the continent, but Handel had only released one, L'Elpidia, in 1724. Now he delivered seven more within five years: Ormisda in 1729/30, Venceslao , Lucio Papirio dittatore , Catone in 1732/33, and no less than three, Semiramide riconosciuta , Caio Fabbricio and Arbace in 1733/34. Handel's working method in the construction of the pasticci was very different, but all materials are based on libretti by Zeno or Metastasio , which are familiar in the European opera metropolises and which many contemporary composers had adopted - above all Leonardo Vinci , Johann Adolph Hasse , Nicola Porpora , Leonardo Leo , Giuseppe Orlandini and Geminiano Giacomelli . Handel composed the recitatives or adapted existing ones from the chosen template. Very rarely did he rewrite an aria, usually in order to adapt it to a different pitch and tessit . For example in Semiramide riconosciuta , where he completely recomposed an aria for an old castrato Saper bramante (No. 14) for bassist Gustav Waltz , because a simple octave transposition (which has been common since the 1920s until today) was not an option for him. Wherever possible, he included the repertoire of the singer in question in the selection of arias. Most of the time the arias had to be transposed when they were transferred from one context to another or transferred from one singer to another. They also got a new text by means of the parody process . The result didn't always have to make sense, because it was more about letting the singers shine than producing a coherent drama. Aside from Ormisda and Elpidia , who were the only ones to see revivals , Handel's pasticci weren't particularly successful - Venceslao and Lucio Papirio dittatore only had four performances each - but like revivals, they required less work than composing and rehearsing new works could well be used as a stopgap or start of the season, or step in when a new opera, as was the case with Partenope in February 1730 and Ezio in January 1732, was a failure. Handel pasticci have one important common feature: the sources were all contemporary and popular materials that had been set to music in the recent past by many composers who set in the “modern” Neapolitan style. He had introduced this with the Elpidia of Vinci in London and later this style merged with his own contrapuntal working method to the unique mixture that permeates his later operas.

orchestra

Two oboes , two bassoons , two corni da caccia , trumpet , strings, basso continuo ( violoncello , lute , harpsichord ).

literature

  • Rudolf Pečman: An Italian opera libretto about King Václav . Translated from the Czech by Jan Gruna. In: Die Musikforschung , 33rd year, volume 3. Bärenreiter-Verlag, Kassel 1980, p. 319 ff.
  • Reinhard Strohm : Handel's pasticci. In: Essays on Handel and Italian Opera , Cambridge University Press 1985, Reprint 2008, ISBN 978-0-521-26428-0 , pp. 173 ff. (English)
  • Bernd Baselt : Thematic-systematic directory. Instrumental music, pasticci and fragments. In: Walter Eisen (ed.): Handel manual . Volume 3. Deutscher Verlag für Musik, Leipzig 1986, ISBN 3-7618-0716-3 , p. 355 ff.
  • John H. Roberts: Venceslao. In: Annette Landgraf and David Vickers: The Cambridge Handel Encyclopedia , Cambridge University Press 2009, ISBN 978-0-521-88192-0 , pp. 656 f. (English)
  • Apostolo Zeno : Venceslao. Drama. Da rappresentarsi nel Regio Teatro di Hay-market. Done into English by Mr. Humphreys . Reprint of the libretto from 1731, Gale Ecco, Print Editions, Hampshire 2010, ISBN 978-1-170-81894-7 .
  • Steffen Voss : Pasticci: Venceslao. In: Hans Joachim Marx (Hrsg.): The Handel Handbook in 6 volumes: The Handel Lexicon. Volume 6. Laaber-Verlag, Laaber 2011, ISBN 978-3-89007-552-5 , pp. 558 f.

Web links

Commons : Venceslao (Handel)  - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c d e Head of the Halle Handel Edition: Documents on life and work. , in: Walter Eisen (Ed.): Händel-Handbuch: Volume 4 , Deutscher Verlag für Musik , Leipzig 1985, ISBN 3-7618-0717-1 , p. 180 ff.
  2. ↑ a b c d e Christopher Hogwood : Georg Friedrich Händel. A biography (= Insel-Taschenbuch 2655), from the English by Bettina Obrecht, Insel Verlag , Frankfurt am Main / Leipzig 2000, ISBN 3-458-34355-5 , p. 172 ff.
  3. ^ Curtis Rogers: London Handel Festival - Venceslao - Nick Pritchard, Michał Czerniawski, Galina Averina & Helen Charlston; Opera Settecento conducted by Leo Duarte on classicalsource.com, April 26, 2019, accessed on June 14, 2020.
  4. ↑ Program of the Handel Festival 2019 on barock-konzerte.de, accessed on June 14, 2020.
  5. ↑ a b c Rudolf Pečman: An Italian opera libretto about King Wenceslas . Translated from the Czech by Jan Gruna. In: Die Musikforschung , 33rd vol., Issue 3, Bärenreiter-Verlag , Kassel 1980, p. 319 ff.
  6. ↑ a b c d Reinhard Strohm : Handel's pasticci. In: Essays on Handel and Italian Opera , Cambridge University Press 1985, Reprint 2008, ISBN 978-0-521-26428-0 , pp. 173 f.
  7. ^ A b John H. Roberts: Venceslao. In: Annette Landgraf and David Vickers: The Cambridge Handel Encyclopedia , Cambridge University Press 2009, ISBN 978-0-521-88192-0 , pp. 656 f.
  8. ↑ Commerce Reference Database . ichriss.ccarh.org. Retrieved April 15, 2013.
  9. ↑ Arthur Ludwig Stiefel: Jean Rotrous 'Cosroès' and his sources. In: Dietrich Behrens (Ed.): Journal for French Language and Literature , Volume 23, Verlag Wilhelm Gronau, Berlin 1901, p. 174.
  10. ^ Venceslao . books.google.de. Retrieved April 16, 2013.
  11. ↑ Bernd Baselt : Handel Handbook. Volume 3. Thematic-systematic directory: instrumental music, pasticci and fragments. VEB Deutscher Verlag für Musik, Leipzig, 1986, pp. 355-360.
  12. ↑ Winton Dean : Handel's Operas, 1726-1741. Boydell & Brewer, London 2006. Reprint: The Boydell Press, Woodbridge 2009, ISBN 978-1-84383-268-3 . P. 128 f.